A Quote by Jean-Paul Marat
How could liberty ever establish itself amongst us? Apart from a few tragic scenes, the revolution has been nothing but a web of farcical scenes.
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Let me completely condemn these sickening scenes; scenes of looting, scenes of vandalism, scenes of thieving, scenes of people attacking police, of people even attacking firefighters. This is criminality pure and simple and it has to be confronted.
I've been in so many funeral scenes from The Sopranos, and I think I've even been in one on Sons of Anarchy. Those scenes, as a human being, are the most tedious scenes, of all time. You're waiting, all day, in the blistering hot heat. So, I didn't need to be there.
I'm really bad writing the chase scenes or fighting scenes. I'm much better for writing, like, a more melancholic or tragic music.
In the old days, you cut out a scene that might've been a really great scene, and no one was ever going to see it ever again. Now, with DVD, you can obviously... there's a lot of possibilities for scenes that are good scenes.
With sex scenes and intense scenes, in general, a lot of it is preparation before the scenes happen, so that you don't have to worry about it on set.
That's the challenging thing with TV; it's not the action scenes per se, and it's not the location scenes and the heavy dialog scenes, but the fact that there is just no let-up; there is no break.
Mr. Hitchcock taught me everything about cinema. It was thanks to him that I understood that murder scenes should be shot like love scenes and love scenes like murder scenes.
Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
I called Nic Pizzolatto and he said, "No, no. You're in it the whole way through." That was fun to shoot [in The Lobster]. I had a few scenes in that show that were some of my favorite all-time scenes to be in.
To play well the scenes in which we are 'on' concerns us much more than to guess about the scenes that follow it.
Some scenes comes together really quickly, and some scenes are disasters that take forever. But it sort of works itself out over time.
Early on, many years ago when we started 'Avatar,' the executive that we were working with said to make the sad scenes sadder, the funny scenes funnier, the scary scenes scarier. That was kind of permission to do what we felt comfortable with.
But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are "on" concerns us much more than to guess about the scenes that follow it.
I'd prefer to include sex scenes alongside the adventure scenes and everyday-life scenes, as if they were all part of the same thing. Which of course they are. Sex is not discrete from the rest of our existence.
How long will we show birds and bees in love scenes? The world has moved on and we should portray intimate scenes realistically.
We improv-ed scenes that didn't happen in the movie. We improv-ed the scenes that are written in the movie without the dialogue as written. We played around a lot to try and figure out just how we could flow with what was already written in the story and how we could highlight those imbalances and those points at which we came to loggerheads.
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